DOCSLIB.ORG

Niobe (?) on the Portonaccio Temple at Veii Jenifer Neils Case Western Reserve University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Niobe (?) on the Portonaccio Temple at Veii Jenifer Neils Case Western Reserve University Etruscan Studies Journal of the Etruscan Foundation Volume 11 Article 2 2008 Niobe (?) on the Portonaccio Temple at Veii Jenifer Neils Case Western Reserve University Follow this and additional works at: https://scholarworks.umass.edu/etruscan_studies Recommended Citation Neils, Jenifer (2008) "Niobe (?) on the Portonaccio Temple at Veii," Etruscan Studies: Vol. 11 , Article 2. Available at: https://scholarworks.umass.edu/etruscan_studies/vol11/iss1/2 This Article is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Etruscan Studies by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Niobe (?) on the Portonaccio Temple at Veii by Jenifer Neils ABSTRACT The most famous examples of Etruscan architectural sculptures are those from the Portonaccio sanctuary at Veii of ca. 510 B.C. The surviving over life-size terracotta akroteria include Apollo (to whom the temple was originally thought to be dedicated), Herakles, Hermes, and a female figure holding a child identified as Leto with her son Apollo. Given the rarity of Apollo as a child in classical art and the implausibility of his appearing twice on a building dedicated to Minerva, a new interpretation is here proposed for this group as Niobe with her youngest child. If the Veii Apollo, striding along with his bow, is correctly interpreted as reacting to Herakles’ clubbing of the Kerynian hind, then one can visualize his sister in a similar pose chasing Niobe and her last surviving child, as depicted on a slightly later Attic red-figure vase. This subject in which Niobe is punished for her impiety is more in keeping with other themes of Etruscan architectural sculp - ture, such as the Pyrgi pedimental group, which are deliberately normative. eProduced in every handbook of Etruscan art, the Portonaccio temPle of Veii with its rooftoP terracotta sculPtures is one of the best known architectural R monuments of ancient Etruria .1 All students of art history recognize the grouP of the striding god APollo/APlu, the deity to whom the temPle was originally believed to be dedicated, battling the Greek hero Herakles/Hercle over the Kerynian hind. Otto Brendel called it “one of the most distinguished examPles Preserved of all Etruscan sculP - ture.” 2 Equally often illustrated is the head of the god Hermes/Turms , who is Posed as a bystander behind the figure of Herakles in most reconstructions of the roof . For Pur - Poses of symmetry a Putative Artemis/Artume is often reconstructed behind her broth - er APollo. 3 However, there were more life-size terracotta figures, as well as akroteria – 35 – ––––--–––––––––––––––– Niobe (?) on the Portonaccio Temple at Veii ––––––––-––––––––––––– figure 1 and figure 2 – Woman fleeing with child, front and back. Terracotta akroterion from Portonaccio Temple at Veii, ca. 510 B.C. Rome, Villa Giulia. Photos: Hirmer – 36 – ––––––––––––––––––––––––––––––––––––––––––––––––– Jenifer Neils ––––––––––––––––––––––––––––––––––––––––––––––––– Pedestals, found in the excavations at the Portonaccio sanctuary, and few attemPts have been made to arrange these on the temPle building. A case in Point is the subject of this PaPer, the life-size sculPture of a draPed woman carrying a child at her left shoulder (Figs. 1-2 ). I here question the traditional identification of this figure and Posit an alternative that has greater affinity with the sculPtural Programs of other Etruscan temPles . The body of the female figure and her child were discovered in some 250 Pieces by Massimo Pallottino in 1938 – twenty-two years after the APollo, Herakles , and head of Hermes. 4 The fragments lay just to the north of the sanctuary’s later altar. 5 The head was not found until 1944 and while it does not actually join the body, its relevance to the stat - ue seems assured on the basis of fabric and coloring . In its restored state the statue meas - ures 1.66 m, or just slightly shorter than the statue of APollo (1.75 m). Like APollo she is Posed in an extremely wide stride , but is moving to her left or the viewer’s right . She is richly clad in a light-colored belted chiton contrasting with a dark symmetrical mantle. Her hair is long and flowing , and her head is crowned with a diadem. While her left arm is missing, with her right she braces the leg of a young child, Preserved from the waist down, who is Perched at her left shoulder. The child is Presumably male on account of his darker skin color; he wears a short tunic, the folds of which are visible along his left thigh. In his Publication of the statue in 1950 Pallottino identified the kourotroPhic female as the goddess Leto/Latona holding the infant APollo/APlu in her arms, and this identification has been generally accePted in much of the scholarly literature. 6 Assuming another two-figured narrative grouP like the Herakles and APollo, he interPreted this sec - ond grouP as baby APollo shooting the snake Python at DelPhi . In his reconstruction (Fig. 3) he has somewhat altered the direction of Leto’s gaze, shifting it farther to the right. His chief comParandum for this mythical scene was the name-vase of the Leto Painter, a red-figure lekythos in Berlin of ca. 470 B.C. that shows Leto carrying the nude, baby archer APollo aiming his bow to the right. 7 As evidence for the Python Pallottino cited a black-figure lekythos of simi - lar date in Paris that shows the serPent coiling near an altar figure 3 – Leto, Apollo and the Python. Reconstruction by and cave, with another woman Pallottino of the ridge-pole of the Portonaccio Temple at Veii. and Palm tree intervening Drawing after ArchCl 2, 1950, pl. 38, 3. – 37 – ––––--–––––––––––––––– Niobe (?) on the Portonaccio Temple at Veii ––––––––-––––––––––––– figure 4 – Leto with baby Apollo. Attic black-figure lekythos ca. 470 B.C. Paris, Cabinet des Médailles 306. Photo after CVA Bib. Nat. 2, pl. 86.2.6-8. between the snake and Leto (Fig. 4 ). 8 To suPPort his interPretation Pallottino ProPosed that a very small terracotta fragment of a Possible snake could be the Python. A mere six centimeters in diameter, this fragment is Problematic as Part of a life-size akroterion intended to be visible from far below .9 Besides the diminutive snake, there are numerous Problems with these Attic vase-Painting comParanda. First, Leto is shown standing still, not moving as in the Veii statue. Second , APollo is nude , and finally, both figures look to the right. Closer to the Veii sculPture in Pose is the Leto on a lost APulian amPhora once in the Hamilton col - lection (Fig. 5 ). 10 Here she is actually running and looking back at the snake curled in its cave, but she holds two half-draPed children, neither of whom is shooting a bow. More imPortantly both black-figure lekythoi were found in Attica, and in the Etruscan sPhere the ePisode is rePresented quite differently. A charming fifth-century mirror from Cerveteri shows the divine twins as toddlers together battling the large snake while their mother looks calmly on (Fig. 6 ). 11 In this instance the nude children are on the ground and PerhaPs not surPrisingly in Etruscan art, Artemis is leading the charge. In none of these illustrations of the Python myth does the child APollo aPPear endangered; he is after all a god and does not need his mother’s Protection. At the time Pallottino Published his interPretation, it was generally accePted that the Portonaccio temPle was dedicated to APollo in sPite of the fact that at least three inscribed sixth-century bucchero sherds bear the name of Menrva/Minerva .12 More recently scholars like Banti have suggested a triad of divinities, namely Menrva, Artume and Turan, while Torelli claims a joint oracular cult of DelPhic APollo and Menrva. 13 However, the inscriPtional evi - dence, as well as the ambiguity regarding the number of cellas (one with two alae, or three), clearly demonstrate that Menrva was the original cult figure at the Portonaccio sanctuary. Therefore, one might legitimately question the existence of two images of APollo on a temPle dedicated to another deity. And in fact Otto Brendel did so in 1978: “For the striding woman who tenderly bears a child in her arms no satisfactory exPlanation has yet been forthcoming. – 38 – ––––––––––––––––––––––––––––––––––––––––––––––––– Jenifer Neils ––––––––––––––––––––––––––––––––––––––––––––––––– Since the infant cannot be the god APollo, the suggestion to name its guardian Latona, APollo’s mother, carries little conviction.” Nonetheless Pallottino’s aPPellation has stuck, and most Publications still label the figure Latona/Leto. Brendel went on to suggest that the woman may simPly be an un-named kourotroPhoic figure, not unlike some of the later votives found in the sanctuary. 14 A drawback to this identification is the fact that the other figures on the roof are taking Part in narratives, whereas a kourotroPhos, like the Mater Matuta from Chianciano , is usually a single image with no associated action. 15 Other suggestions for the identity of this mother and child have not been lack - ing. One Posited by Silvio Ferri is Creusa with her son Ascanius (or if a deity is Preferred, APhrodite with her grandson) escaPing Troy, a PoPular theme in Italy. 16 In classical art there are numerous images of women holding a child thus, and almost always it is mor - tal and in Peril for its life. 17 ExamPles from Athenian vase Painting include Danae with baby Perseus as they are about to be set adrift in a box ; a nurse holding Alkmaion, the son of AmPhiaraos, as the latter deParts for war and his demise at Thebes ; Andromache clutching Astyanax who will eventually be thrown from the walls of Troy ; and Niobe with her youngest child, the last to be slain by the divine twins .
Load more

Recommended publications
  • Ceificate of Auenticity
    S T E V E N B A T T E L L E Ce!ificate of Au"enticity This coin has been personally inspected and determined to be an authentic ancient coin . If deemed a forgery by the ACCS, IGC, NGC, or PCGS, it may be returned at any time for a refund of the purchase price. Athens, Attica, 449-404 BC, AR Tetradrachm B076961 / U02697 17.1 Gm 25 mm Obv: Head of Athena right, wearing earring, necklace, and crested Attic helmet decorated with three olive leaves over visor and a spiral palmette on the bowl. Rev: Owl standing right with head facing, olive sprig with berry and crescent in upper left field, AOE to right; all within incuse square. Kroll 8; SNG Copenhagen 31; Dewing 1591-8 The Athenian “owl” silver tetradrachm is unquestionably one of the most influential coins of all time. During the fifth century BC, when Athens emerged as the greatest of all Greek cities, owls were the most widely used international coin and helped to spread Greek culture throughout the Mediterranean world. With the help of her powerful navy, and through the taxation of her allies, Athens accomplished to gain pre-eminance in Hellas and achieved a celebrated prosperity. The Athenian tetradrachms were well-accepted all over the Mediterranean world, while several imitations modeled on them were issued within the Persian state. The Peloponnesian War (431-404 BC) exhausted the silver resources of Athens and eventually destroyed irreparably the Athenian supremacy. With the mines lost and their treasury depleted by the ruinous cost of the Pelloponesian war with Sparta, the Athenians resorted to an emergency issue of plated silver tetradrachms.
    [Show full text]
  • Archaeology and History of Lydia from the Early Lydian Period to Late Antiquity (8Th Century B.C.-6Th Century A.D.)
    Dokuz Eylül University – DEU The Research Center for the Archaeology of Western Anatolia – EKVAM Colloquia Anatolica et Aegaea Congressus internationales Smyrnenses IX Archaeology and history of Lydia from the early Lydian period to late antiquity (8th century B.C.-6th century A.D.). An international symposium May 17-18, 2017 / Izmir, Turkey ABSTRACTS Edited by Ergün Laflı Gülseren Kan Şahin Last Update: 21/04/2017. Izmir, May 2017 Websites: https://independent.academia.edu/TheLydiaSymposium https://www.researchgate.net/profile/The_Lydia_Symposium 1 This symposium has been dedicated to Roberto Gusmani (1935-2009) and Peter Herrmann (1927-2002) due to their pioneering works on the archaeology and history of ancient Lydia. Fig. 1: Map of Lydia and neighbouring areas in western Asia Minor (S. Patacı, 2017). 2 Table of contents Ergün Laflı, An introduction to Lydian studies: Editorial remarks to the abstract booklet of the Lydia Symposium....................................................................................................................................................8-9. Nihal Akıllı, Protohistorical excavations at Hastane Höyük in Akhisar………………………………10. Sedat Akkurnaz, New examples of Archaic architectural terracottas from Lydia………………………..11. Gülseren Alkış Yazıcı, Some remarks on the ancient religions of Lydia……………………………….12. Elif Alten, Revolt of Achaeus against Antiochus III the Great and the siege of Sardis, based on classical textual, epigraphic and numismatic evidence………………………………………………………………....13. Gaetano Arena, Heleis: A chief doctor in Roman Lydia…….……………………………………....14. Ilias N. Arnaoutoglou, Κοινὸν, συμβίωσις: Associations in Hellenistic and Roman Lydia……….……..15. Eirini Artemi, The role of Ephesus in the late antiquity from the period of Diocletian to A.D. 449, the “Robber Synod”.……………………………………………………………………….………...16. Natalia S. Astashova, Anatolian pottery from Panticapaeum…………………………………….17-18. Ayşegül Aykurt, Minoan presence in western Anatolia……………………………………………...19.
    [Show full text]
  • University of Florida Thesis Or Dissertation Formatting
    THE ANATOMY OF ROMAN EPIC: A STUDY OF POETIC VIOLENCE By JAMES MOSS LOHMAR A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 James Moss Lohmar 2 Meis parentibus sororibusque bellis 3 ACKNOWLEDGMENTS I must first thank my mother, for forcing me to take Latin, and my father, for always talking shop. My sisters, Sarah and Elizabeth, have supported me throughout my studies, and their enthusiasm for my progress is always welcome. I have profound respect for Dr. Robert Burgess and Professors Mario Erasmo and James Anderson, without whose enthusiasm and instruction my decision to pursue a Ph.D. would have never come about. My gratitude goes to Professor Victoria Pagán and the students of her Lucan seminar during Fall 2009, whence the nascent stages of this project were born. My thanks go to Seth Boutin, Megan Daly and George Hendren, in particular, for their erudition and collegial support in this process. Lindsay Rogers offered me much support in the way of professional and academic advice throughout my graduate studies. I have appreciated the criticisms of Professor Gene Witmer in UF Philosophy, who has offered help in making this project appeal to a non-specialist audience. His suggestions of horror bibliography and modern film comparanda have been indispensible. Professor Kostas Kapparis has been a steady mentor in my teaching and writing since I began Ph.D. work, and his objectivity has kept my argument grounded in the text.
    [Show full text]
  • Triangular Numbers in Henry Peacham's Minerva Britanna
    Brief Chronicles IV (2012-13) 89 Triangular Numbers in Henry Peacham’s Minerva Britanna: A Study in Jacobean Literary Form Roger Stritmatter his article investigates the presence of a concealed and previously undetected numerical symbolism in a Stuart-era emblem book, Henry TPeacham’s Minerva Britanna (1611). Although alien to modern conceptions of art, emblem books constitute one of the most widely published and popular genres in early modern book production. Drawing from an eclectic tradition of literary, religious, and iconological traditions, the emblem book combined words and images into complex patterns of signification, often of a markedly didactic character. Popular in all the European vernaculars, it appealed to a wide range of Renaissance readers, from the nearly illiterate (by virtue of its illustrated nature) to the most erudite (by virtue of its reputation for dazzling displays of intellectual and aesthetic virtuosity). By convention the emblem was divided into three parts: superscriptio, pictura, and subscriptio: the superscriptio was the short legend or motto that typically appeared at the top of the page; below it appeared the pictura – the emblem per se – followed by the subscriptio, a longer responsive analysis, usually written in verse, which completed the design. While emblem book scholars still debate the exact relationship between the three parts – and no doubt individual emblem writers themselves sometimes conceived of it in different ways, Deitrich Walter Jöns’ definition constitutes a useful and standard point
    [Show full text]
  • Yalin Akcevin the Etruscans Space in Etruscan Sacred Architecture And
    Yalin Akcevin The Etruscans Space in Etruscan Sacred Architecture and Its Implications on Use Abstract Space is no doubt an important subject for the Etruscan religion, whether in the inauguration of cities and sacred areas, or in the divination of omens through the Piacenza liver in divided spaces of a sacrificial liver. It is then understandable that in the architecture and layout of the temples and sacred places, the usage of space, bears specific meaning and importance to the use and sanctity of the temple. Exploring the relationship between architectural spaces, and religious and secular use of temple complexes can expand the role of the temple from simply the ritualistic. It can also be shown that temples were both monuments to gods and Etruscans, and that these places were living spaces reflecting the Etruscan sense of spatial relations and importance. I. Introduction The Etruscans, in their own rights, were people whose religion was omnipresent in their daily lives. From deciding upon the fate of battle to the inauguration of cities and sacred spaces, the Etruscans held a sense of religion close to themselves. The most prominent part of this religion however, given what is left from the Etruscans, is the emphasis on the use of space. The division and demarcation of physical space is seen in the orthogonal city plan of Marzabotto with cippus placed at prominent crossroads marking the cardinal directions, to the sixteen parts of the heaven and the sky on the Piacenza liver. Space had been used to divine from lighting, conduct augury from the flight of birds and haruspicy from the liver of sacrificial animals.
    [Show full text]
  • Dream Goddess:Athena
    Dream Goddess: Athena Goddess of Wisdom & War Women who embody the Athena archetype are not afraid of their power—in fact they thrive on it. They are achievement oriented, alpha “A- type” personalities. They tend to identify themselves with their work, projects, or creative endeavors, and thus are extremely driven. Contemporary Athena women in Western culture are natural leaders, who usually find themselves either working for themselves or climbing to the top of the corporate ladder. They don’t typically complain about the proverbial “glass ceiling” because they are too busy making strides, working hard, and focusing on the goal they are achieving than on how difficult it is to make it in a “man’s world.” Women ruled by Athena live in a world where they know if they work hard enough, they can create their own destiny. They can be competitive with men and women alike (anyone who stands in the way of her reaching the brass ring she is striving for). The cost of being overly “Athena” can be adrenal burn out, constantly feeling at war, and thus being criticized for being “ruthless” and a “bitch”. Being an extreme Athena archetype can be a lonely road since there’s only room at the top for one person— relationships can be opportunistic, conditional, thus not deep, long-lasting, and satisfying. 1 Athena women’s dreams are filled with wisdom and strategic guidance about how to get ahead in business and become more successful. If you’re not an Athena woman, you definitely want to be on her good side.
    [Show full text]
  • Greek and Roman Mythology and Heroic Legend
    G RE E K AN D ROMAN M YTH O LOGY AN D H E R O I C LE GEN D By E D I N P ROFES SOR H . ST U G Translated from th e German and edited b y A M D i . A D TT . L tt LI ONEL B RN E , , TRANSLATOR’S PREFACE S Y a l TUD of Greek religion needs no po ogy , and should This mus v n need no bush . all t feel who ha e looked upo the ns ns and n creatio of the art it i pired . But to purify stre gthen admiration by the higher light of knowledge is no work o f ea se . No truth is more vital than the seemi ng paradox whi c h - declares that Greek myths are not nature myths . The ape - is not further removed from the man than is the nature myth from the religious fancy of the Greeks as we meet them in s Greek is and hi tory . The myth the child of the devout lovely imagi nation o f the noble rac e that dwelt around the e e s n s s u s A ga an. Coar e fa ta ie of br ti h forefathers in their Northern homes softened beneath the southern sun into a pure and u and s godly bea ty, thus gave birth to the divine form of n Hellenic religio . M c an c u s m c an s Comparative ythology tea h uch . It hew how god s are born in the mind o f the savage and moulded c nn into his image .
    [Show full text]
  • Cneve Tarchunies Rumach
    Classica, Sao Paulo, 718: 101-1 10, 199411995 Cneve Tarchunies Rumach R.ROSS HOLLOWAY Center for Old World Archaeology and Art Brown University RESUMO: O objetivo do Autor neste artigo e realizar um leitura historica das pinturas da Tumba Francois em Vulci, detendo-se naquilo que elas podem elucidar a respeito da sequencia dos reis romanos do seculo VI a.C. PALAVRAS CHAVE: Tumba Francois; realeza romana; uintura mural. The earliest record in Roman history, if by history we mean the union of names with events, is preserved in the paintings of an Etruscan tomb: the Francois Tomb at Vulci. The discovery of the Francois Tomb took place in 1857. The paintings were subsequently removed from the walls and became part of the Torlonia Collection in Villa Albani where they remain to this day. The decoration of the tomb, like much Etruscan funeral art, draws on Greek heroic mythology. It also included a portrait of the owner, Vel Saties, and beside him the figure of a woman named Tanaquil, presumably his wife (this figure has become almost completely illegible). In view of the group of historical personages among the tomb paintings, this name has decided resonance with better known Tanaquil, in Roman tradition the wife of Tarquinius Priscus. The historical scene of the tomb consists of five pairs of figures drawn from Etruscan and Roman history. These begin with the scene (A) Mastarna (Macstma) freeing Caeles Vibenna (Caile Vipinas) from his bonds (fig.l). There follow four scenes in three of which an armed figure dispatches an unarmed man with his sword.
    [Show full text]
  • Theban Walls in Homeric Epic Corinne Ondine Pache Trinity University, [email protected]
    Trinity University Digital Commons @ Trinity Classical Studies Faculty Research Classical Studies Department 10-2014 Theban Walls in Homeric Epic Corinne Ondine Pache Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/class_faculty Part of the Classics Commons Repository Citation Pache, C. (2014). Theban walls in Homeric epic. Trends in Classics, 6(2), 278-296. doi:10.1515/tc-2014-0015 This Article is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. TC 2014; 6(2): 278–296 Corinne Pache Theban Walls in Homeric Epic DOI 10.1515/tc-2014-0015 Throughout the Iliad, the Greeks at Troy often refer to the wars at Thebes in their speeches, and several important warriors fighting on the Greek side at Troy also fought at Thebes and are related to Theban heroes who besieged the Boeotian city a generation earlier. The Theban wars thus stand in the shadow of the story of war at Troy, another city surrounded by walls supposed to be impregnable. In the Odyssey, the Theban connections are less central, but nevertheless significant as one of our few sources concerning the building of the Theban walls. In this essay, I analyze Theban traces in Homeric epic as they relate to city walls. Since nothing explicitly concerning walls remains in the extant fragments of the Theban Cycle, we must look to Homeric poetry for formulaic and thematic elements that can be connected with Theban epic.
    [Show full text]
  • A Near Eastern Ethnic Element Among the Etruscan Elite? Jodi Magness University of North Carolina at Chapel Hill
    Etruscan Studies Journal of the Etruscan Foundation Volume 8 Article 4 2001 A Near Eastern Ethnic Element Among the Etruscan Elite? Jodi Magness University of North Carolina at Chapel Hill Follow this and additional works at: https://scholarworks.umass.edu/etruscan_studies Recommended Citation Magness, Jodi (2001) "A Near Eastern Ethnic Element Among the Etruscan Elite?," Etruscan Studies: Vol. 8 , Article 4. Available at: https://scholarworks.umass.edu/etruscan_studies/vol8/iss1/4 This Article is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Etruscan Studies by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. A Near EasTern EThnic ElemenT Among The ETruscan EliTe? by Jodi Magness INTRODUCTION:THEPROBLEMOFETRUSCANORIGINS 1 “Virtually all archaeologists now agree that the evidence is overwhelmingly in favour of the “indigenous” theory of Etruscan origins: the development of Etruscan culture has to be understood within an evolutionary sequence of social elaboration in Etruria.” 2 “The archaeological evidence now available shows no sign of any invasion, migra- Tion, or colonisaTion in The eighTh cenTury... The formaTion of ETruscan civilisaTion occurred in ITaly by a gradual process, The final sTages of which can be documenTed in The archaeo- logical record from The ninTh To The sevenTh cenTuries BC... For This reason The problem of ETruscan origins is nowadays (righTly) relegaTed To a fooTnoTe in scholarly accounTs.” 3 he origins of the Etruscans have been the subject of debate since classical antiqui- Tty. There have traditionally been three schools of thought (or “models” or “the- ories”) regarding Etruscan origins, based on a combination of textual, archaeo- logical, and linguistic evidence.4 According to the first school of thought, the Etruscans (or Tyrrhenians = Tyrsenoi, Tyrrhenoi) originated in the eastern Mediterranean.
    [Show full text]
  • A Study on the Design and Composition of Victorian Women's Mantle
    Journal of Fashion Business Vol. 14, No. 6, pp.188~203(2010) A Study on the Design and Composition of Victorian Women’s Mantle * Lee Sangrye ‧ Kim Hyejeong Professor, Dept. of Fashion Design, TongMyong University * Associate Professor, Dept. of Clothing Industry, Hankyong National University Abstract This study purposed to identify the design and composition characteristics of mantle through a historical review of its change and development focusing on women’s dress. This analysis was particularly focused on the Victorian age because the variety of mantle designs introduced and popularized was wider than ever since ancient times to the present. For this study, we collected historical literature on mantle from ancient times to the 19 th century and made comparative analysis of design and composition, and for the Victorian age we investigated also actual items from the period. During the early Victorian age when the crinoline style was popular, mantle was of A‐ line silhouette spreading downward from the shoulders and of around knee length. In the mid Victorian age from 1870 to 1889 when the bustle style was popular, the style of mantle was changed to be three‐ dimensional, exaggerating the rear side of the bustle skirt. In addition, with increase in women’s suburban activities, walking costume became popular and mantle reached its climax. With the diversification of design and composition in this period, the name of mantle became more specific and as a result, mantle, mantelet, dolman, paletot, etc. were used. The styles popular were: it looked like half-jacket and half-cape. Ornaments such as tassels, fur, braids, rosettes, tufts and fringe were attached to create luxurious effects.
    [Show full text]
  • Leto As Mother: Representations of Leto with Apollo and Artemis in Attic Vase Painting of the Fifth Century B.C
    https://publications.dainst.org iDAI.publications ELEKTRONISCHE PUBLIKATIONEN DES DEUTSCHEN ARCHÄOLOGISCHEN INSTITUTS Dies ist ein digitaler Sonderdruck des Beitrags / This is a digital offprint of the article Lavinia Foukara Leto as Mother: Representations of Leto with Apollo and Artemis in Attic Vase Painting of the Fifth Century B.C. aus / from Archäologischer Anzeiger Ausgabe / Issue Seite / Page 63–83 https://publications.dainst.org/journals/aa/2027/6626 • urn:nbn:de:0048-journals.aa-2017-1-p63-83-v6626.5 Verantwortliche Redaktion / Publishing editor Redaktion der Zentrale | Deutsches Archäologisches Institut Weitere Informationen unter / For further information see https://publications.dainst.org/journals/aa ISSN der Online-Ausgabe / ISSN of the online edition 2510-4713 ISSN der gedruckten Ausgabe / ISSN of the printed edition Verlag / Publisher Ernst Wasmuth Verlag GmbH & Co. Tübingen ©2019 Deutsches Archäologisches Institut Deutsches Archäologisches Institut, Zentrale, Podbielskiallee 69–71, 14195 Berlin, Tel: +49 30 187711-0 Email: [email protected] / Web: dainst.org Nutzungsbedingungen: Mit dem Herunterladen erkennen Sie die Nutzungsbedingungen (https://publications.dainst.org/terms-of-use) von iDAI.publications an. Die Nutzung der Inhalte ist ausschließlich privaten Nutzerinnen / Nutzern für den eigenen wissenschaftlichen und sonstigen privaten Gebrauch gestattet. Sämtliche Texte, Bilder und sonstige Inhalte in diesem Dokument unterliegen dem Schutz des Urheberrechts gemäß dem Urheberrechtsgesetz der Bundesrepublik Deutschland. Die Inhalte können von Ihnen nur dann genutzt und vervielfältigt werden, wenn Ihnen dies im Einzelfall durch den Rechteinhaber oder die Schrankenregelungen des Urheberrechts gestattet ist. Jede Art der Nutzung zu gewerblichen Zwecken ist untersagt. Zu den Möglichkeiten einer Lizensierung von Nutzungsrechten wenden Sie sich bitte direkt an die verantwortlichen Herausgeberinnen/Herausgeber der entsprechenden Publikationsorgane oder an die Online-Redaktion des Deutschen Archäologischen Instituts ([email protected]).
    [Show full text]